mUltimate Chopin

Op. 10 No 8, Etude in F major

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Page: 
Source: 
p. 6, b. 67-79
p. 1, b. 1-14
p. 2, b. 15-28
p. 3, b. 29-40
p. 4, b. 41-52
p. 5, b. 53-66
p. 6, b. 67-79
p. 7, b. 80-95
Main text
Main text
A - Autograph
FE - French edition
FE1 - First French edition
FE2 - Corrected impression of FE1
FED - Dubois copy
FEJ - Jędrzejewicz copy
FES - Stirling copy
GE - German edition
GE1 - First German edition
GE2 - Second German edition
GE3 - Third German edition
GE4 - Fourth German edition
EE - English edition
EE3 - Corrected impression of [EE2]
EE4 - Revised impression of EE3
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A - Autograph
FE - French edition
FE1 - First French edition
FE2 - Corrected impression of FE1
FED - Dubois copy
FEJ - Jędrzejewicz copy
FES - Stirling copy
GE - German edition
GE1 - First German edition
GE2 - Second German edition
GE3 - Third German edition
GE4 - Fourth German edition
EE - English edition
EE3 - Corrected impression of [EE2]
EE4 - Revised impression of EE3
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  b. 76

No accidental (e1) in A (→FE→GE1,EE3)

Flat in GE2 (→GE3→GE4) & EE4

Natural suggested by the editors

The flat added in GE2 (→GE3→GE4) is certainly non-authentic. Moreover, there is no reason to suppose Chopin's oversight, as e1 is harmonically more justified than e1 due to the dominant harmony of the next bar. Chopin would frequently use this type of harmonic advances in figurations. In order to avoid doubts in the main text, we add a cautionary . The revision of subsequent GE,s was repeated in EE4.

Compare the passage in the sources »

category imprint: Differences between sources; Editorial revisions

issues: GE revisions

notation: Pitch

Missing markers on sources: A, FE1, FE2, FED, FEJ, FES, EE3, EE4, GE1, GE2, GE3, GE4
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